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This book aims to offer a comparatist defense of hyperbole in the Baroque period. Focusing on Spanish and Mexican lyric (Góngora, Quevedo, and Sor Juana), English drama (King Lear and translations of Seneca), and French philosophy (Descartes and Pascal), Christopher Johnson reads Baroque hyperbole as a sublime, frequently satiric means of making sense of worlds and selves in crisis and transformation. Grounding his readings of hyperbole in the history of rhetoric and literary imitation, Johnson traces how rhetorical excess acquires specific cultural, political, aesthetic, and epistemological value. 'Hyperboles' also engages critiques of hyperbolic thought (Wittgenstein, Derrida, and Cavell), as it argues that hyperbole is the primary engine of a poetics and metaphysics of immanence.